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The Work of Art in the Age of Digital Reproduction and Mediated Reality

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The Work of Art in the Age of Digital Reproduction and Mediated Reality Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. The Work of Art in the Age of Digital Reproduction and Mediated Reality. Ethics and Aesthetics in the dream and cream world of every-extending publicity Ulla Karttunen * University of Eastern Finland Shift in publicities My focus is on the public, published, reproduced sides of reality – existing in the contemporary world is something more than immediate presence, it very often also means touching what is already mediated. Reality, as public and social, consists not only of persons, actions and social structures; it is also made up of images and words, reflections and reproductions. I shall call these reproduced parts of reality-mediated realities. * [email protected], [email protected] Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011 479 Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. Art and science are traditional forms of reflecting and interpreting reality, but in today’s society there are also many forms of mediated reality that did not exist just a short while ago. Public realms of words and images have undergone enormous change, massive growth, and a kind of virtual urbanization. In spite of silent villages, consisting of prayer books, textual newspapers and religious imagery, we have today real publiCITIES: crowded centres and favelas consisting of advertisements, reality shows, magazines, lifestyle books, music videos, blogs and so on. This development has been made possible by various technical discoveries, inventions from photography and cinema to computers and digital reproduction. In the 19th century advertising, marketing, entertainment, celebrity culture and similar fields were either non-existent or minimal if we compare their coverage today.1 These areas are generally based on visual enjoyment, so aesthetics (with its visual orientation criticized in anti-ocularcentric2 philosophy) could have dealt with them. Nonetheless these areas are still very seldom treated by aesthetics.3 In the public sphere – in reproduction technologies and the productions they enable – we see shifts, changes, in different fields: 1 In the timeline of celebrity culture in Cashmore (2006, pp. 270–279), there was little activity before the 20th century. In the 19th century the celebrities mentioned are still figures like Charles Dickens or Oscar Wilde, persons with a life’s work. 2 Martin Jay (1993) and David Michael Levin (1993) have criticized that Western thinking and aesthetics has been dominated by a privileging of vision over the other senses. Jay (1993) reads French philosophers such as Georges Bataille, Jean-Paul Sartre, Maurice Merleau-Ponty, Emmanuel Levinas, Michel Foucault, Louis Althusser, Guy Debord, Jacques Lacan, Luce Irigaray, Roland Barthes, Christian Metz, François Lyotard and Jacques Derrida as critics of ocularcentrism. 3 Despite the existence of applied aesthetics or contemporary pragmatism. Richard Shusterman’s apology for popular arts is well known (Shusterman, 1992, Shusterman, 2000), but with advertisements or internet porn we move still further from today’s acceptable popular arts, like rap or comic strips, and especially into more socially charged areas, whose processing needs an interdisciplinary approach, which joins cultural and media studies and sociology with aesthetics. Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011 480 Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. There’s a shift not only from immediate to mediated realities, but also from the textual to the visual, from local to global, from mechanical to digital reproduction, from information to entertainment, from state-controlled to market-based structures, from the religious to the profane, from intimacy to publicity and from innocent to sexualized/pornificated media surfaces. These histories of change can be represented by a simple series of advertising pictures. Advertisements were at first textual, seeking to give information. Until the 1960s one can see a kind of chastity and innocence for contemporary viewers in the advertisement images. In the present situation, on the other hand, most ads are visual, and constructing brands means building mental images of happiness, which generally means simply erotic attraction. Ads, like entertainment, must be sexy, because it helps producers to sell products. The principles of selling and competing form the ethics of contemporary consumer society. The market economy has made an enormous advance from the sexual liberation of the 1960s: advertising would lack means without sexual connotations. Erotic contents are so obvious in contemporary media, advertisement and entertainment that they could be called a norm, a law. To describe erotic connotations as a norm, I have a still of a commercial video that has been banned in the United Kingdom. Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011 481 Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. The reason why this ad has been banned is here the most interesting. It was not for erotic reasons, although there is an actress who takes ecstatic, orgiastic positions. The brand is well known and appreciated: YSL’s perfume Belle d’Opium. The Advertising Standards Authority declared “the woman’s actions simulated drug use”. That was hardly noticeable in this erotically explicit ad, but sufficient. Simulated or real erotic scenes could not serve as a reason for banning, because they confirm the standard. However, the standards are different in art and in advertisements. If this picture were included in a market-critical work, an issue we will examine later, it would have been banned for 25 years – and for another reason. Mediated realities and aesthetic economy Various fields of contemporary life are linked to the virtual and digital realms. We use e-mail and social media, search for information, read internet magazines, buy flights and reserve hotels on the internet, order books, check translations, listen to music, read blogs, and so forth. In the digital age our relation to reality has become more and more mediated. I do not, however, mean to speak of mediated realities as a danger. Art is not a Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011 482 Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. danger merely because it is generally fictive or representative, not direct action. Mediatedness is just a fact, and should be just a starting point for aesthetics to grow to reach new realms of reality: fields that are as real as reality, but also virtual, fictive, representative as art. If aesthetic research deals with mediated realities, it will also notice that the borders between the aesthetics of art and the aesthetics of the real world are blurry. Mediated realms are part of the aesthetic economy. The contemporary Western economy has largely been turned aesthetic. From habitation to traffic, from food to clothes, from media to entertainment, consumers are seduced by aesthetic refinement. The aesthetic economy seeks to transform customers’ lives into a never-ending flow of enchantment and pleasure. We can refer to all productions that have been designed to sell through sensual pleasure with the term aesthetic economy.4 In numerous fields in contemporary society the aesthetic and the economic are intertwined. Contemporary society shows in every detail that the era of the 4 Economics and aesthetics have generally been kept apart in the history of aesthetics. For recent efforts to treat aesthetic and economic theories together see Mossetto, 1993 and Gagnier, 2000. Entwistle, 2009, uses the concept of aesthetic economy in a case study focusing on fashion. Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011 483 Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. aesthetic field being separated from the practical is over, at least if aesthetics wants to remain a relevant science and say something about contemporary reality. The aesthetic economy also has an impact on mass media.5 In the digital age media has undergone a development of both visualization and simplification; news are sold as scandalized visual products. Information delivery is under massive aesthetization, under market terms. Even before the digital age, there has been talk of a process of tabloidization. This term signifies that communication has become more condensed and sensationalized, that there is a shift to a more entertainment-oriented content, and a shift from verbal to visual priorities. Tabloidization has been seen as a threat to rational debate: the stress upon the sensational and emotive undermines the place of reason.6 In the digital realm this process only goes further. The human being in the digital age: consuming advertisements One material example of tabloidization, scandalization, and tendencies towards simplification and visualisation of media can be seen in the contemporary coverage of celebrity culture. “Celebrities are performative texts: they act out.” (Marshall 2006, 11) In celebrity culture the worlds of media and advertising intermix. A celebrity is someone who has become a picture in repetition, an advertisement in continual reproduction. From a basic-style celebrity we do not even remember why he or she is famous. What is important is that images are delivered widely. “Each time
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